A. BALLADS AND SONGS

(See also Table 1, p. 129, and Appendix, pp. 163-65)

“B for Barnie,” 164

“Babylon” (Child 14), 14, 39, 40, 51, 52, 73, 98, 99-101, 99-103, 113, 120, 131, 137, 157, 169

“Baffled Knight, The” (Child 112), 41, 44-45, 84, 92-94, 118, 120, 138, 157

“Ballad of the Ladies Fall,” 46

“Bantairo, The,” 164

“Barbara Allen” (Child 84), 2, 89, 147

“Basket of Eggs, The,” 43, 48-49, 118, 120, 137

“Beggar-Laddie, The” (Child 280), 43, 49-50, 51, 85

“Bold Fisherman, The” (Laws O-24), 117

“Bonny Baby Livingston” (Child 222), 10, 41, 75, 119, 120, 131, 138, 142, 155

“Braes o Yarrow, The” (Child 214), 41, 42, 84, 90, 98, 103, 107-108, 107-113, 120, 122, 124, 130, 131, 133, 136, 152, 157, 163. See also “Yarrow Group”

“Broken Token, The” (Laws N-42), 43, 48, 120, 131, 137

“Captain Kidd” (Laws K-35), 35

“Chain of Gold, The,” 49

“Child Maurice” (Child 83), 35, 36-38, 52

“Child Waters” (Child 63), 10

“Clerk Saunders” (Child 69), 36

“Conde Olinos,” 126

“Cruel Mother” (Child 20), 41, 42, 44, 98, 103-107, 104-105, 113, 120, 123, 133, 136, 137, 141-42, 157

“Cuckoo, The,” 118

“Dream of the Miner’s Child, The,” 132

“Duke’s Hunt, The.” See “Fox Chase, The”

“Earl Richard” (Child 68, “Young Hunting”), 41, 65, 122, 124, 125-27, 131, 133, 136, 147, 148, 149

“Eastmure King, The” (Child 89, “Fause Foodrage”), 20, 42, 70, 72, 73, 128, 131, 133-35, 136, 137, 145, 155

“Edward” (Child 13), 98

“Elfin Knight” (Child 2), 167

“Fair Janet” (Child 64), 41, 70, 71-76, 78, 95, 98, 119, 120, 124, 128, 130, 131, 133, 136, 138, 141, 151, 154

“Fair Margaret and Sweet William” (Child 74), 135

“Fair Margaret of Craignargat,” 42, 46, 131

“Fause Foodrage” (Child 89). See “Eastmure King, The”

“Forlorn Lover, The.” See “Week Before Easter, The”

“Fox Chase, The,” 44, 50-51, 137

“Frog and Mouse, The,” 35

“Gay Goshawk, The” (Child 96), 42-44

“Gentleman of Exeter, A” (Laws P-32), 46

“Geordie” (Child 209), 40, 41-42, 73, 87, 93, 128, 130, 136, 137, 141, 142-43, 145, 150, 163

“Golden Vanity, The.” See “Sweet Trinity, The”

“Great Titanic, The” (Laws D-24), 132

“Gypsy Laddie, The” (Child 200), 2, 41, 42, 70, 73, 90-92, 95, 120, 123, 133, 138, 140, 141, 150

“Hind Horn” (Child 17), 37, 41, 44, 52, 85-86, 86-89, 119, 120, 121, 123, 131, 133, 137, 141, 157

“Hugh Spenser’s Feats in France” (Child 158), 9

“Jamie Douglas.” See “Child Maurice”

“Jamie Douglas” (Child 204), 42, 85, 113, 119, 133, 136, 138, 145, 152

“Johnie Armstrong” (Child 169), 43, 45, 135

“Johnie Scot” (Child 99), 7, 36, 41, 43, 44, 45, 57-59, 59-68, 70, 73-74, 78, 79, 80, 84, 98, 110, 120, 121, 122, 128, 130, 133, 135-36, 137-38, 141, 144, 146-48, 153, 157, 165, 168

“Kempy Kay” (Child 33), 36, 39

“Lady Maisry” (Child 65), 35, 167

“Lass of Roch Royal, The” (Child 76), 9-10, 168, 171

“Leader Haughs and Yarrow,” 164

“Leesome Brand” (Child 15). See “Sheath and Knife”

“Little Musgrave and Lady Barnard” (Child 81), 41, 90, 98, 119, 120, 133, 136, 138-41, 165

“Lord Derwentwater” (Child 208), 16-17, 17-20, 41, 42, 45, 52, 64, 78-79, 98, 128, 133, 135-36, 143, 146, 150, 153, 155; tune, 76

“Lord William” (Child 254), 41, 42, 52, 73, 76-78, 76-81, 118, 119, 120, 131, 133, 136, 137, 138, 150

“Maid Freed from the Gallows, The” (Child 95), 98-99, 153

“Mary Hamilton” (Child 173), 14, 20, 42, 65, 68-74, 80, 84, 97, 98, 109, 119, 120, 123-24, 125, 128, 131, 133, 137, 138, 141, 150, 151, 152

“My Nanny O” (Simpson 319), 164

“Nightingale, The” (Laws P-14), 118

“Oh Robin Redbreast,” 132

“Our Goodman” (Child 274), 2, 98, 153-54

“Outlandish Knight, The” (Child 4), 164

“Oxford Tragedy, The,” 46-47

“Paper of Pins,” 36

“Perjured Maid, The” (Laws P-32), 46

“Pretty Fair Maid, The.” See “Broken Token, The”

“Pretty Peggy O,” 36

“Pretty Polly” (Composite), 132

“Sheath and Knife” (Child 15-16), 40, 45, 51, 113, 120, 122, 133, 137, 152

“Single Sailor, The.” See “Broken Token, The”

“Sir Hugh” (Child 155), 155, 156

“Sir Patrick Spens” (Child 58), 42, 45, 72, 98, 110, 125, 128, 130, 133, 135-36, 137, 146, 148, 150, 153

“Slippings o Yarn,” 43, 45

“Somebody,” 35

“Son Davie” (“Lord Randal,” Child 12), 3

“Sweet Trinity, The” (Child 286), 40, 41, 43, 44, 84, 94-95, 133, 136, 157

“Twa Brothers, The” (Child 49), 123

“Twa Sisters, The” (Child 10), 40, 51, 73, 84, 85, 87-88, 88-89, 90, 95, 120, 124, 125, 131, 133, 141, 156, 157

“Two Rigs of Rye” (Laws O-11), 49, 165

“Unquiet Grave, The” (Child 78), 165

“Waly Waly,” 52, 85, 118, 164

“Wee Wee Man, The” (Child 38), 36, 39, 41, 42, 44, 84, 133, 157

“Week Before Easter, The,” 43, 47-48, 131, 137

Wit-Combat Ballads (Child 1, 2, 3, 46), 98, 99, 153-54

“Yarrow” Group (Child 214-15), 84-85, 109, 112, 147. See also “Braes o Yarrow, The”

“Young Hunting” (Child 68). See “Earl Richard”

B. PEOPLE, PLACES, MOVEMENTS AND EVENTS

Abrahams, Roger D., 3

American Revolution, 143

Anders, Wolfhart H., 146, 166

Andersen, Flemming G., 5, 7, 10-11, 13, 109, 111, 117, 122, 123, 124, 125, 135, 151, 153, 154, 156, 158, 166, 168; Mrs. Brown’s orality, 10; importance for present study, 13; typology of ballad repetition, 14, 61-63; supra-narrative function of commonplaces, 127-31; definition of formula, 146; multiformity, 158; Edith Rogers, 169. See also Supra-narrative function (Index C)

Antigone, 89

Ayr, 29, 30

Baird, John, 31

Baring-Gould, Sabine, 47, 50, 51

Barry, Phillips, 2

Birnie, Mrs. (Singer), 36

Blaikie, Andrew, 52, 164, 165

Brock, William R., 26

Bronson, Bertrand H., 3, 9, 49, 76, 90, 95, 99, 139, 163, 164, 165

Brown, Mrs., of Falkland, 5, 7, 9-10, 11-12, 21, 39, 87, 97-98, 134, 147-48, 167; oral technique, 80, 155-58; repertoire, 133, 155-56

Brown, Frank C., 2

Buchan, David, 9, 11, 13, 61, 87, 92, 117, 146, 147, 157; The Ballad and the Folk, 5, 8-10; methodology, 9; border ballads, 26; aural memory, 81-82

Buchan, Peter, 36, 39, 46-47, 76, 170

Burdine, Betty Lucille, 132

Burns, Robert, 33

Campbell, Olive Dame, 2

Campbell, Susie (Singer), 132

Campbell MS, 65

Campbell, Sheriff of Renfrewshire, 32

Cart, River, 32

Chappell, William, 50, 112

Charles II, 50

Child, Francis James: The English and Scottish Popular Ballads, 2, 3, 36, 40, 51, 74, 78, 99, 125, 126, 130, 140, 146, 167; as comparatist, 12; secures Harvard copies of Motherwell Manuscripts, 34-35; Lyle texts, 39-42, 94

Clyde, River, 26

Cockburn, Henry: Memorial, 29

Coffin, Tristram P., 1, 2, 3

Coleridge, Samuel Taylor, 26

Collinson, Francis, 2

Corn Laws of 1815, 28

Couch Family of Kentucky, 3

Courier, Glasgow, 33

Crawfurd, Andrew, 39; MS, 52, 140, 166

Cromeck, R. H., 37

Crum, Mrs. (Singer), 38

Dalziel, M. H., 35

Davis, Arthur K., 2, 3

Derwentwater, James Ratcliffe, Earl of, 17

Douglas, The (Tragedy), 36-37

Dumbarton, 29, 30

D’Urfey, Thomas, 164

Edwards, Carol, 154, 166

Ellis, Peter B. and Seumas Mac a’Ghobhainn, 29-34

Euing Collection, 47

Finlay, John, 52

Flanders, Helen Hartness, 36

Foley, John Miles, 6, 11, 166; defining the formula, 146

Fraser, Antonia, 124

Fraser, John, 29-30

Friedman, Albert B., 1, 8

Gardner, Emelyn Elizabeth and Geraldine Jencks Chickering, 49

Gaskin, Brenda A., 27, 28, 37

George IV. See Hanoverian Kings

Gerould, Gordon Hall, 166

Gibbs, J. H. M., 35

Gilchrist, John, 52

Gillespie, Mrs. (Singer), 9-10

Gilmour, David, 27

Glasgow, 25, 26, 30, 95

Glasgow University Library, 34-35

Goldie, John, 31, 39, 163

Goldstein, Kenneth, 83-84, 92, 94

Gordon, Anna. See Brown, Mrs., of Falkland

Greig, Gavin, 2, 9

Grundtvig, Svend: Danmarks gamle Folkeviser, 2, 122

Gummere, Francis Barton, 1

Hanoverian Kings, 30, 143

Hardie, Andrew, 31

Harker, Dave, 39

Hefley, Julie (Singer), 132

Henderson, Hamish, 2

Hitchcock, Alfred, 106

Hogg, James, 33

Holmes, Janet (Singer), 25, 44

Home, John, 36

Homer, ix, 4; Iliad, 6, 9, 168

Houghton Library, Harvard University, 35

Hustvedt, Sigurd Bernhard, 38

James I, 50

James (“The Old Pretender”), 17

James, Thelma, 2

Jamieson, Robert, 39

Johnston, Marjery (Singer), 39

Johnstone, Renfrewshire, 25

Jones, James H., 1, 8

Karpeles, Maud, 47, 50

Keith, Alexander, 49

Kennedy, Peter, 2, 118

Kidson, Frank, 50

Kilbarchan, Renfrewshire, 41, 44, 90, 143, 156; ballad community, 25-27; populace, 27, 28; in Radical War, 29-30; schools, 166

King, Edward (Singer), 25

King, Mrs. (Singer), 25

Kinloch MS, 73

Kiparsky, Paul, 5

Laird, Agnes (Singer), 25, 40, 41-42, 44

Lanarkshire, 29, 143

Laws, G. Malcolm, 3, 132

Leach, MacEdward, 1

Lévi-Strauss, Claude, 11

Lindsay, Maurice, 136-37

Long, Eleanor, 3, 6, 8, 92, 99, 161; four types of singers, 84

Lord, Albert B., ix-x, 1, 4-8, 11, 93, 117, 144, 150, 152, 154, 158, 159, 160, 166; criteria for orality, 13; value of oral literature, 113; “theme,” ix, 5-6, 135

Lyle, Agnes (Singer), 2, 7, 25, 99, 125, 135; artistic achievement, 12, 57, 64, 103, 113, 157; repertoire, 12-13, 34, 40-51, 71 74, 92-94, 144, 156-57; oral technique, 12, 53, 57, 81, 89, 97, 98-113, 128-31, 144; biography, 31-32, 42, 143; political and social bias, 32, 70, 136, 156; as singer, 33, 45, 51-53; in Motherwell MSS, 39-45; spelling of name, 41; tunes, 51, 52, 163-65; personal aesthetic, 53, 74, 95, 97-113; weeps, 45; forgets, 92; as passive tradition-bearer, 94-95; exercises choice, 132, 138-44; anger, 140-44; and Mrs. Brown, 155-58

Lyle, Emily B., 52, 140, 163, 166

M’Alpie, James, 33

McCarthy, William Bernard, 37

MacColl, Ewan, 2, 153

M’Conechy, James, 32, 38

M’Cormick, Widow (Singer), 35, 37, 39

MacKenzie, W. Roy, 2

McLuhan, Marshall, 1

Macqueen, Mary. See Mrs. Storie

Mary, Queen of Scots, 124

Milton, John, x

Montgomerie, William, 35, 52

Motherwell, William, 25, 28, 32-33, 52, 89, 125, 135, 142, 163-65; interest in ballads, 12; “Jeannie Morrison,” 26, 32; Toryism, 31, 32; field collector, 31, 35-40, 44-51; and Agnes Lyle, 31-32, 33, 39-40; editor, Minstrelsy: Ancient and Modern, 32-33, 35-40, 42, 164; Manuscript, 35-40, 76; Notebook, 34-51, 95, 167; letter to Scott, 37

Murdoch, James Barclay, 35

Nagler, Michael N., 5

Napoleonic Wars, 27

New Statistical Account, The, 25, 28

Nicol, James, of Strichen, 9, 39

Nygard, Holger Olof, 9-10

Oedipus Rex, 89

Olrik, Axel, 11

Owenites, 143

Paine, Tom: Rights of Man, 143

Paisley, Renfrewshire, 25, 30, 32

Paisley Riots of 1819, 32

Paredes, Amerigo, 26

Parker, Allie Long, 165

Parry, Milman, ix-x, 1, 8, 144, 158

Peacock, Kenneth, 2, 47

Percy, Thomas, Bishop, 36, 38, 93, 157

Pettitt, Thomas, 10

Pollock House, Glasgow, 35

Porter, James, 3

Presbyterianism, 26

Propp, Vladimir, 9, 11, 98, 136

Radical Movement, 27-31, 32, 33, 143

Radical War of 1820, 28-31, 69, 144

Ramsay, Allan, 45

Randolph, Vance, 2

Renfrewshire, 25, 26, 29, 51, 140-41

Renwick, Roger deVan, 3, 13, 50-51, 117-21, 131; erotic song types, 118-19

Revelation (N.T.), 101

Richmond, W. Edson: ballad index, 3

Riddle, Almeida, 3

Roberts, Leonard, 3

Roberts, Warren, 133

Robertson, Bell, 9

Robertson, Jeannie, 3

Rogers, Edith Randam, 111, 112, 117, 121-27, 131

Roxburgh Ballads, 47, 50

Rule, Mrs. (Singer), 40

Scandinavia: folklore, 134

Scholasticism, 81, 98

Scotland: Northeast, 8, 13, 171; as border region, 26; Highlands, 26; outmigration to Lowlands, 27-28; Southwest, 26, 95, 140, 164, 171; Lyle repertoire typical, 12; as ballad community, 25-28; textile industry, 26-28; urbanization, 28. See also Weavers: hand-loom (Index C)

Scott, Sir Walter, 37-42, 164; letter to Motherwell about editing, 38

Seeger, Peggy, 153

Sharp, Cecil, 2, 46, 47, 49, 51, 118, 164, 165

Sharpe, Charles Kirkpatrick, 35, 37, 45, 46, 52, 163, 164, 165

Shaw, John P., 26, 28

Shepherd, Sir Samuel, 30

Sheppard, H. Fleetwood, 47

Sidmouth, Henry Addington, Viscount, 30

Simpson, Claude M., 164

Smith, John, 140-41

Smith, Robert A., 35, 52

Stirling, 29, 30

Storie, Mrs. (Singer), 36, 39, 163, 166, 167

Sydow, Carl Wilhelm von, 94

Tadlock, Dennis, x

Thigpen, Kenneth A., Jr., 40

Thom, William, 91

Thomas, M. C., 34

Thomson, Mrs. (Singer), 25, 65

Toryism: Scotland, 31, 143

Treaty of Union of 1707, 30

Ugljanin (Yugoslav Epic Singer), 5

Whitman, Cedric H., 9, 11

Wilgus, D. K., 1, 3, 6

Wilson, James, 31

Wimberly, Lowry C., 126

Wordsworth, Dorothy, 26

Wordsworth, William, 26

Wylie, John (Publisher), 35, 37

Yugoslavia, ix

C. TOPICS

Acoustic patterns, 5, 7, 75-76, 81-82, 168; alliteration, 75, 76, 126, 146-47, 158; alliteration and Anglo-Saxon verse, 168; anaphora, 171. See also Chiasmus, Meter, Repetition, Rhyme

Active tradition bearer. See Repertoire

Aesthetic, Oral, 2-3, 8, 11, 113, 160; and oral structural principles, 20

Air: Ballad. See Tune

Analogical term, 170-71

Angels, 98-99

Artistry, 3-4, 13, 71, 81, 82, 95, 103, 113, 160, 161

Ballads: oral [-formulaic] approach, x, 1, 4-11, 158-61; oral [-formulaic] controversy, 1-2, 8, 160-61; communal origin theory, 1, 153-54; collecting, 2, 39; text-tune relationship, 2; tools for study, 3; survivals in, 27; literary connections, 36-39 passim; structural definition, 98; ballad objectivity as structural principle, 103, 107-113; emotional core, 138

—types, 98-99; blues, 3; medieval, 27; romantic, 71, 155-56; wit-combat, 98, 99, 153-54; revenant, 103-107, 155; tragic, 117, 132; comic, 117, 133; Jacobite, 143

—couplet ballads, 53, 85-89, 94, 98, 157; Mrs. Brown’s, 97, 156, 157, 171. See also Meter

—political and social milieu, 3, 8, 13, 91, 121, 132, 143-44, 170; democratic spirit in Scotland, 137; contemporary conditions reflected, 17, 27, 143

—and songs: regional and national differences, 48; Denmark, 2, 122, 170; Traveller (Tinker), 2; Northeast, 8-10, 164, 171; Renfrewshire, 12, 138-41, 171; Border, 26; Newfoundland, 47; Michigan, 49; England, 50-51; New England, 95, 96; Appalachia, 96, 117, 125; North America, 126, 138, 141, 160, 169; Arkansas, 132, 165; Ohio, 138-39; Virginia, 139; New Brunswick, 139

—and songs: broadside, 9, 94, 133, 160; in Lyle repertoire, 12, 42-51; diction, 46, 145

—and songs: ribald and erotic, 32-33, 35-36, 93-94, 117-21, 169; Renwick classification, 118-19

Bricoleur, 82

Broadsides. See Ballads and songs: Broadside

Characters: character structure, 13-14, 18-19, 61, 65-67, 70-71, 80-81, 87, 90, 109, 111, 156; characterization, 111-12, 127; oppositional traits, 119-20; tale roles, 156

Chiasmus, 15-16, 93

Clichés, 75, 89, 145, 148, 154

Code-switching: meter as mechanism, 12

Commonplace stanzas, 10-11, 53, 65, 74, 85, 97, 128, 147, 150-51, 152; criterion of ballad orality, 13; multiformity, 81, 158; functions, 109, 134-35. See also Context-bound formulations, Incipits, Supra-narrative function

Context-bound formulations, 109, 128, 151

Couplet ballads. See Ballads: couplet

Creativity, 6, 13, 73, 84, 117, 158-61

Cross-cut (film), 92

Denunciation of gentry by ballad character, 40, 70, 78, 91, 141-42

Diction: ballad, 74-76, 126; broadside, 46, 145; understatement, 76, 127; dialect, 158. See also Acoustic patterns, Clichés

Enjambment, non-periodic, 13

Epic, 7, 158, 161; South-Slavic, ix, 4-8, 166. See also Homer (Index B)

Expressive technique, 8, 111-12, 125. See also Diction, Supra-narrative function, Symbols

Fixed-text songs, 12, 51, 83, 92-94, 157, 160

Foreshadowing. See Supra-narrative function

Formula, ix, 4-5, 6, 7, 13, 53, 73, 81, 84, 146-55, 171; definitions, 4-5, 10-11, 72, 146, 154-55, 166; multiformity, 53, 91-92; in “Yarrow” ballads, 109; families, 71-73, 129, 130-31, 148, 154; types, 145-55

Frame, 15, 18, 64-65

Humor and wit, 81, 93-94. See also Ballads and songs: ribald and erotic

Imagery, 89, 121-22. See also Symbols

Improvisation, 7-8, 84, 159

Incipits, 65, 68, 73-74, 101, 111, 149, 152, 154, 163, 164

Incremental repetition. See Repetition

Irony, 64-71 passim, 91-103 passim, 124, 127, 137-41 passim, 150

Law: Scotland, 30

Leitmotif, 21, 131. See also Love and death, Perfidy, Wedding-funeral

Listening, 7, 67-68, 159-60

Literacy, 9, 26, 166

Literary structure, 15, 93

Love and death, 11, 111, 117-31, 144. See also Wedding-funeral

Memory, 7, 10, 84, 92-94, 96, 159, 169; aural memory, 76, 81-82. See also Fixed-text songs

Meter, 7, 12, 13, 53, 85, 95, 144, 157; decisive influence, 12, 85-87

Motif. See Leitmotif, Symbols

Multiformity: in formulaic elements, 8, 11, 84-85, 95, 148, 150, 154-55, 158

Murder, 126, 133-35, 137

Narrative structure, 14, 18-20, 61, 67, 80, 91, 141-42

Narrative theme, 6, 84

Navajo Sing, 161

Nuncupative will, 18, 20, 153

Oaths, 126-27

Oral composition, 8, 9, 51, 76-82, 96, 155-61; syntax, 7; rhetoric of, 67, 68; not monolithic, 68, 73; technique built up over generations, 82; factors affecting success, 83-96; inconsistency, 83-96; and ballad definition, 98. See also Creativity

Oral [-formulaic] theory, ix-x, 4-21, 145, 160-61; and ballads, history of, 1-2, 4-11; and improvisation, 7-8; problems with term oral-formulaic, 11

Orality: criteria, 13, 20, 53-54

Parallelism: Hebrew, 147

Passive tradition-bearer. See Repertoire

Perfidy, 19, 59, 70, 78, 89, 94, 133, 142-43. See also Denunciation

Performance, 132, 158; singing, 51-52; learning, 7, 159-60; as composition and transmission, 158-59

Poaching, 50-51

Point of view: objective, 87

Politics. See Ballads: Political and Social Milieu

Popularity: factor affecting ballad composition, 84-85, 88-92, 95

Redundancy, 67, 68

Repertoire, 2, 3; value of analysis, 12, 38, 39; determining orality, 53-54; passive, 83, 94; inactive, 83-84, 94; active, 92; and personality, 131, 132, 142-44

Repetition, 65, 73, 74-76, 80, 91, 97, 102, 158; Andersen’s classification, 14, 61-63; as structural principle, 61-64, 103-107; incremental, 61-64, 69-70, 101; causative, 103-107, 109; recurrent, 137; terracing, 148; formulaic, 149

Rhyme, 67, 68, 75, 76, 109; rhyme schemes, 47, 85, 107-109; and errors, 92-93; formulaic, 147-48; Lyle and Brown techniques compared, 158, 171

Rose and Briar commonplace, 152

Run, 5, 66, 72, 152. See also “Theme”

Scots language, 158

Scots literature: democratic element, 136-37

Semiotic analysis of ballads, 117-21

Sexism in ballads, 119, 169. See also Worldview

Singers, 8, 11, 155-61; text-singer identification, 38-39; Long’s four types, 84; personality, 132

Stability, 4-7, 159-60, 166; criterion of orality, 10; and fixity, Lord’s usage, 166

Stanza pairing, 61, 63, 71, 147 48, 152. See also Repetition

Stanzaic cluster. See Run

Stanzaic structure, 13-14, 18, 61, 65, 79-80, 87, 90, 97, 101, 109; stress on, caused by meter, 157

Structural principles:

—annular, binary, and trinary, 14-16, 17-20, 53, 59, 87, 89, 90, 93, 157, 160; criteria for orality, 13; and oral aesthetic, 20; Mrs. Brown, 156; annular (ring), 14-15, 59-61, 87, 93, 105, 109; binary, 14; trinary, 14, 66, 87, 101

—commonplace, 11; unfolding, 99-103; causative repetition, 103-107; ballad objectivity, 103, 107-113

Style, 53, 160

Suicide, 101

Supra-narrative function (commonplaces), 7, 11, 109, 111, 125, 128-31, 154, 155; presaging function, 111, 122, 127, 128, 130; defined, 127; ambiguity, 130-31, 134

Survivals, 27

Symbols: ballad, 112, 121-27; magic and fairytale elements, 89; hair, 111, 124-25; hunt, 122; games, 122-23, 169; clothing, 123-24; birds, 125, candles, 125; music, 125, 170; metamorphosis, 125-26; conscience, 126; love-death, 127; garden and tree, 134-35. See also Wedding-funeral

Tale roles, 156

Tenant barns, 91

Tension of essences, 65, 73, 81-82

“Theme,” ix, 5-6, 7, 11, 72, 74, 81, 113, 166; Lord’s definition, 5-6, 135; criterion of orality, 13; “King’s letter,” 63, 135-36, 153; multiformity, 135; distinguished from run, 152-53

Tonal structure, 14, 20, 61, 80, 87, 90

Tradition-bearer, active and passive. See Repertoire

Tragedy, Greek, 89

Transmission, 96, 158-61

Triad, interrupted, 87

Tune, 51, 52, 85; multiformity, 95, 159

Wayang kulit, 161

Weavers: handloom, 25-31, 143; political consciousness, 27-31; decline, 28, 144

Wedding-funeral: identification, 48, 78, 123-38 passim. See also Love and death

Worldview, 112, 117, 131, 160; gender and, 110, 119; Lowland Scots and English, 121; Christian, 126

Yarrow: multiple meanings of word, 109